Works

A long shot: Because that is the easy thing, that is hard to accomplish.
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Eleonore Büning in the Frankfurter Allgemeinen Zeitung on the world premier of the opera “Spiegelgrund” in the Austrian parliament in Vienna in 2013

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The often provocative composer shows his skilful handling of tradition with his chamber music. He tends towards eclecticism, he is not driven towards it. The form is what matters.
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Rigobert Dittmann in “Bad Alchemy” on the CDs “Collection 1 – Music for Voice” and “Collection 2 – Music for Percussion and Piano”, 2004

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Sound spaces to last: That is probably the most precise way to describe the effect that Peter Androsch achieved with a good sense of humour and loose instrumentation of the RSO-orchestra in his “reperta for three singers and orchestra”. New acoustic “findings” become surprising, and ironic sound experiments.
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Johannes Frankfurter for the “Falter” on the orchestra piece “Reperta” at the musikprotokoll during the Steirischer Herbst, Graz 2005

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Cascades of curses, implosions, and the deepest darkest corners of the banalities of dialect: You have to listen with Androsch, listening to him is not enough.
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CB for the “Österreichische Musikzeitschrift” on the CD “Collection 1 – Music for Voice”, 2004

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It is moving the way Peter Androsch shows his vision of what art can be: To give those a voice who have been made silent, and to listen to that voice.
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Irene Bazinger for “Cicero”, 2013

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Peter Androsch’s music is some of the best that was part of a film in the past few months.
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Clause Philipp for “Der Standard” on the film-music for Andreas Gruber’s “Hasenjagd”, 1995

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